Most of us know the story of The Elephant Man – except, it turns out, we don’t. The 1980 David Lynch film shocked and appalled us, for all the right reasons, about the mistreatment of a highly intelligent man who suffered from physical deformity due to a rare condition. And while there are nuggets of truth in the film, this new musical, supported by historians and meticulous research, sets out to tell the true story of Joseph Carey Merrick.

One of the many genius aspects of this piece of theatre is the stylised nature of those around Joseph: their exaggerated make-up and period clothing, where he has no makeup and is simply dressed. He is, to all intents and purposes, an ordinary man: showing all his humanity, his kindness, spirit and courage in an often unkind world; where sometimes those around him would exhibit such ugliness. Such a great theatrical choice, and such a bold metaphor for that time that is still as true today.

Carl Lovejoy plays the titular character with such passion and emotion; ranging from intense periods of having to keep everything inside in some scenes and then singing with such raw emotion it’s heartbreaking. He exudes bravery, humility, and vulnerability in a layered combination, a beautiful portrayal of such an amazing man. His voice is also truly wonderful to hear: so clear, powerful and pitch perfect with amazing range. His is such a mesmerising performance, with such gentle yet powerful presence.

So too is Phil Nair-Brown whose charisma and energy drive the whole show as the Showman. Changing character on a hairpin and giving us the lowest sung rich chocolate tones in the piece, he is as bold yet also as real and grounded as his red tailcoat. Of the many standout pictures in the show, the changing of character as another cast member changing the hat on his head, is a thing of beauty. His is also a narrator role, and he is the glue in the show, holding us all in the palm of his hand. Another standout performance.

Another standout voice is Eleanor Lakin playing Madge Kendal and other roles, as well as the impeccable direction she has given the show. Her voice is so clear and pure with the highest range, and the harmonies she creates with Carl Lovejoy are utter bliss to hear. In many ways this is an ensemble piece, and it’s odd to think that the whole story is actually only told by six actors. The stage feels rich and full of story tellers, and the characterisation for each of them is gorgeous. Fillipe Ribeiro as Frederick Treves: calculating and scientific at first then troubled by what he has done, then is emotionally opened up by his friendship with Joseph; the impossibly flexible Tonie Ow as the Acrobat and more, and the many characters Marcus Truman moves deftly between with lovely clarity.

One thing that sets this show apart, elevating it and truly setting it as amazing, is the movement work. Cara Jervis needs praising from the rafters. It’s nothing short of sublime, stunning, and picture perfect. It never dips throughout the show. The pictures they create on the stage are worthy of every superlative in the dictionary and then more should be invented. It’s a feast for the eyes, while they create a feast for the ears with the accompanying music by Alan Perry and Bradley Tullett who also write the whole show. Some of the lyrics are so clever they are a joy to hear and linger long after. This is quite simply stunning, a must see: catch it if you can.

Iron Works, 4 May 2026

The Elephant in the Room runs until 6 May 2026

Photos credit: Miles Davies